Ten Questions With…Steve Kleinedler

Steve Kleinedler is an improviser and director who recently joined the Philadelphia scene after working at ImprovBoston. He is currently directing the PHIT Fringe Festival show twenty-four.

How and why did you get into comedy? I was always interested in theatre, and I slowly slid into comedy in high school in the early 80s when I took part in a program for teenagers affiliated with the Flint Community Players. Every Saturday for 2 years, about a dozen of us would play around, and we gravitated toward improv without fully even realizing it was improv, per se. I don’t think I got into comedy intentionally, it just sort of happened.

How would you describe your style as a comedian? What influences and factors do you think contribute to that? I’m a verbal player. I’m quick to make connections and see patterns verbally, and I have a good command of the English language. I’ve done several hundred radio interviews for work, and I can talk fluently at length on many subjects. Doing improv is an extension of that skill.

Do you have a favorite show or venue you like to perform at? What about it makes it fun or special for you? After a while, venues blend together. Essentially they’re all rooms with an audience, so it really makes no difference to me as long as they’re acoustically sound. My favorite show was not one I was in, but one I directed: Backstory, up at ImprovBoston, in which the story unfolded backward in time, like the movie Memento. The actors spent eight weeks rehearsing and then had an eight week run, and it was really intense, and they nailed every single performance. All the actors attended every single rehearsal (except for one person who missed one week because she was in Ireland), so it was insanely tight. Favorite shows I was in is my two-person show with Harry Gordon: Directions with Steve & Harry.

Do you have a single favorite moment in Philly comedy or one that stands out? The first time I did Adrift (PHIF 6, I think), I literally met Kelly Vrooman about 2 seconds before we went onstage. We took our places in the dark, the lights went up, and she and I locked eyes and *immediately* had a fully fleshed out backstory and we were both on the same page. Without saying anything! It was amazing. And then I got to make out with Kristen Schier. It was quite a show.

My favorite moment that I wasn’t a part of involves Mary Carpenter, both in Dangerous Minds at Duofest 2, and in Matt Nelson’s Stage Fright. I can’t narrow them down, but it’s a joy to watch her act.

Do you have any sort of creative process that you use with your writing or your performance? Not a conscious one. By now, it’s just sort of ingrained and I just sort of do it.

What is it about improv that draws you to it? When it’s on fire, it’s one of the most gratifying things to watch as an audience member. As a director, when you see your cast hit it, it’s also immensely gratifying.

Do you have any favorite performers in the Philly scene? Why are they your favorites? Right now, I’m going to say the entire cast of 24 (the fringe project I’m directing for PHIT).

Do you have any bad experiences doing comedy that you can share? A particularly bad bombing or even an entire show gone haywire? I did this outgig — a Christmas party at the police union up in Boston. They were in a mood to party and they were NOT in a mood to watch a show; additionally, the three guys I performed with had gotten into an accident on the way there. (I got a call from them — I was stuck in the traffic behind the accident they were a part of!) When we saw how hostile the site was to us, we immediately cut our 45 minute set down to about 20 minutes. We played ‘Interrogation’ — and when we asked for a crime that had been committed, one person responded from the back of the room: “Ate a crap.” That pretty much sums up the night. It was awful.

What do you think the Philly comedy scene needs to continue to grow? I moved to Philadelphia four months ago because I’m completely jazzed about the scene. When I decided to move on from Boston, I could literally have moved anywhere in the country I wanted to, and I chose Philadelphia in large part for the comedy scene that so many people from so many backgrounds have worked hard to create. The opportunity to perform here is greater than in most cities (mostly because rental spaces are so plentiful and relatively inexpensive), and it’s so nice to see performers and producers take advantage of that.

As the different groups and organizations work together more and more, the stronger the community will become. A rising tide lifts all boats. I see so many encouraging signs that everyone wants a vibrant comedy scene in Philadelphia. There’s plenty of room for all of the existing organizations (and then some). The movers and shakers behind PHIT, PHIF, ComedySportz, to name just three, all deserve a huge deal of credit for bringing the city to its current level of comedy offerings, and the addition of newer umbrella organizations like Polygon just point to the vibrancy of the scene. I can’t imagine doing this in any other city. The trajectory is definitely on an upswing.

Do you have any personal goals for the future as you continue to perform comedy? My only goal ever, was to be in an opening credits sequence. I did some video sketch comedy in the late 90s, so I hit that goal. I am fortunate that I have a good day job, which leaves my evenings and weekends free to pursue theatre. My focus is on directing and coaching, so what makes me happy is helping other improvisers continually improve.